Cultural Techniques Cultural Techniques Assembling Spaces, Texts & Collectives Edited by Jörg Dünne, Kathrin Fehringer, Kristina Kuhn, and Wolfgang Struck We acknowledge support by the German Research Foundation (DFG) and the Open Access Publication Fund of Humboldt-Universität zu Berlin. ISBN 978-3-11-064456-2 e-ISBN (PDF) 978-3-11-064704-4 e-ISBN (EPUB) 978-3-11-064534-7 DOI https://doi.org/10.1515/9783110647044 This work is licensed under a Creative Commons Attribution 4.0 International License. For details go to: https://creativecommons.org/licenses/by/4.0/. Library of Congress Control Number: 2020939337 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2020 Jörg Dünne, Kathrin Fehringer, Kristina Kuhn, and Wolfgang Struck, published by Walter de Gruyter GmbH, Berlin/Boston Cover image: porpeller/iStock/Getty Images Plus Typesetting: Integra Software Services Pvt. Ltd. Printing and binding: CPI books GmbH, Leck www.degruyter.com Contents Jörg Dünne, Kathrin Fehringer, Kristina Kuhn, and Wolfgang Struck Introduction 1 Spaces Tom Ullrich Working on Barricades and Boulevards: Cultural Techniques of Revolution in Nineteenth-Century Paris 23 Jörg Dünne Cultural Techniques and Founding Fictions 47 Wolfgang Struck A Message in a Bottle 61 Gabriele Schabacher Waiting: Cultural Techniques, Media, and Infrastructures 73 Christoph Eggersglüß Orthopedics by the Roadside: Spikes and Studs as Devices of Social Normalization 87 Hannah Zindel Ballooning: Aeronautical Techniques from Montgolfier to Google 107 Texts/Bodies Bernhard Siegert Attached: The Object and the Collective 131 Michael Cuntz Monturen/montures: On Riding, Dressing, and Wearing. Nomadic Cultural Techniques and (the Marginalization) of Asian Clothing in Europe 141 Jörg Paulus Self-Imprints of Nature 165 VI Contents Jürgen Martschukat Identifying, Categorizing, and Stigmatizing Fat Bodies 177 Kathrin Fehringer Techniques of the Body and Storytelling: From Marcel Mauss to César Aira 187 Collectives Bettine Menke Writing Out – Gathered Up at a Venture from All Four Corners of the Earth: Jean Paul’s Techniques and Operations (on Excerpts) 219 Nicolas Pethes Collecting Texts: Miscellaneity in Journals, Anthologies, and Novels (Jean Paul) 243 Kristina Kuhn Reading by Grouping: Collecting Discipline(s) in Brockhaus’s Bilder-Atlas 263 Stephan Gregory Patience and Precipitation: Two Figures of Historical Change 277 Katrin Trüstedt The Fruit Fly, the Vermin, and the Prokurist: Operations of Appearing in Kafka’s Metamorphosis 295 Christiane Lewe Collective Likeness: Mimetic Aspects of Liking 317 List of Figures 331 List of Contributors 335 Name Index 337 Subject Index 341 Jörg Dünne, Kathrin Fehringer, Kristina Kuhn, and Wolfgang Struck Introduction 1 A Scene of Beginning When Robinson Crusoe finds himself shipwrecked on a deserted, unfamiliar beach, he has but barely managed to save his life. Spending a night freezing, hungry, and in fear of unknown dangers, he realizes that his survival means nothing more than a merciless reprieve – the prospect of a slow death from wasting away instead of a quick death in the sea. Nature, to which Robinson finds himself exposed, appears to offer no means of securing his existence; indeed, it confronts him as a dangerous force. Only the following day, when he discovers his ship stranded not far from the coast, is he able to escape this resignation. This is fol- lowed by days of hard work during which he recovers preserved food, weapons, and tools from the wreck, and finally various nautical instruments, writing mate- rials, and books: objects of use that seem capable of ensuring his survival in the short, medium, and long term. These are objects that Robinson could not have produced himself but are products of complex, specialized practices of labor, or, in other words, that are the product not only of individual actions but of opera- tional chains reaching far back into the (cultural) history of humankind. In order to be able to start his life anew on the island, Robinson must be able to connect to a cultural tradition that he does not carry within himself but that is condensed into material things. The shipwreck functions as a container of everything that makes human beings human. And the lonely island is the place where Robinson is able to (re)create himself as a human being by connecting to all these things. Read this way, Daniel Defoe’s literary island-experiment is not so much the fiction of a new beginning far removed from civilization. Rather, it draws atten- tion to what precedes (or underlies) this beginning: objects and practices that, by entangling material and symbolic dimensions, create not only “culture” but also “the human being.” It is only at first glance that there appears to be a sequence of steps from the objects that make survival possible during Robinson’s first few days (food), to those that allow him to establish himself on the island in the medium term (weapons, tools), to those that can only be useful in the long term (various “mathematical instruments,” paper and ink, books – specifically, several Bibles). Precisely these things, whose immediate benefits are difficult to discern, soon Translated by Michael Thomas Taylor Open Access. © 2020 Jörg Dünne, Kathrin Fehringer, Kristina Kuhn, and Wolfgang Struck, published by De Gruyter. This work is licensed under a Creative Commons Attribution 4.0 International License. https://doi.org/10.1515/9783110647044-001 2 Jörg Dünne, Kathrin Fehringer, Kristina Kuhn, and Wolfgang Struck prove to be indispensable. For example, it is paper and ink that allow Crusoe to capture and record the thoughts spinning in his head amid his despair and to sort them, like an accountant, into columns of “debtor” and “creditor.” It is only when he makes a list comparing “good” and “evil” that Robinson gains clarity about his chances of survival, which turn out not to be so bad.1 An earlier scene in the novel already emphasized the necessity of a self-distancing induced by media. When Robinson and the captain disagree during a storm over which course to take, they retreat into the cabin and, “looking over the charts,” come to a carefully-weighed mutual decision. When the next storm arrives, they are not able to take a step back from the situation. The crew panics and abandons the ship: In this Distress the Mate of our Vessel lays hold of the Boat, and with the help of the rest of the Men, they got her slung over the Ship’s-side, and getting all into her, let go, and commit- ted our selves being Eleven in Number, to God’s Mercy, and the wild Sea.2 The hasty decision, as it turns out later, is a mistake. The small boat is unable to withstand the storm, while the abandoned ship survives with only slight damage. An education in sang-froid, or a suppression of spontaneous reactions that the anthropologist Marcel Mauss described 300 years after Defoe as the decisive effect of culturally specific “techniques of the body,” proves itself here – or fails.3 Robin- son’s example also shows that these techniques of the body work in conjunction with specific spaces (the protected cabin as opposed to the storm- battered deck) and media (the map). Their use, moreover, presupposes further objects: And now I began to apply my self to make such necessary things as I found I most wanted, as particularly a Chair and a Table, for without these I was not able to enjoy the few Com- forts I had in the World, I could not write or eat, or do several things with so much Pleasure without a Table.4 A chair and table are not absolutely necessary to eat, but they make eating a cul- tural act. Like the fence with which Robinson surrounds his home, they create 1 Daniel Defoe, The Life and Strange Surprizing Adventueres of Robinson Crusoe, of York, Mariner, ed. Michael Shinagel (New York and London: Norton, 1994 [1719]), 49–50. 2 Defoe, Crusoe, 32–33. 3 “La principale utilité que je vois à mon alpinisme d’autrefois fut cette éducation de mon sang- froid qui me permit de dormir debout sur le moindre replat au bord de l’abîme. / The main utility I see in my erstwhile mountaineering was this education of my composure [sang-froid], which enabled me to sleep upright on the narrowest ledge overlooking the abyss.” Marcel Mauss, “Les Techniques du Corps,” Sociologie et Anthropologie, introduction par Claude Lévi-Strauss, 365–388 (Paris: PUF, 1985 [1950]), here 385; translated as “Techniques of the Body” by Ben Brew- ster, Economy and Society 2, 1 (1973): 70–88, here 86. 4 Defoe, Crusoe, 50. Introduction 3 a sphere of culture that sets itself apart from the surrounding nature, thus also distinguishing Robinson as a human from the wild animals on the island. They create a body kept upright not only by muscles and bones but also by rules that are learned. The plasticity of this depiction positions Robinson Crusoe within a series of founding narratives about acts that engender culture. The furrow that Romulus ploughs to separate what will become the city of Rome from the surrounding wil- derness is such an act. With the plough, he establishes a connection to the agri- cultural cultivation of the soil and thus to a spatial and symbolic demarcation that is fundamental, at least for the West.5 Even before Romulus “misused” the plough to mark the city boundary, farming had always produced not only food but also a space that was no longer that of nature. Yet it is not only the relationship of human beings to “their” environment and “their” bodies that is determined in such an entanglement of material and symbolic practices; rather, it is such practices that define human beings in the first place.